art classes melbourne

I learned to mix black – this may have changed my world

~ Melbourne Art Class Hub ~ Leave a comment

Ivana’s inspiring experience during our Summer School

Ivana was one of a few students who undertook the challenge of completing both our Painting and Drawing Masterclasses in-between Christmas and New Year (not to mention the challenge of the heat)!

She has had previous experience in painting, however it was the first time she had ever experienced life drawing. We gratefully received her feedback and detailed experience below, and hope you also find it helpful and an insight into the classes we hold here at MAC. Thank you Ivana for allowing us to share your wonderfully candid account! This is why we love what we do.

“My objective in these classes was twofold. To refine my eye and hand; to learn specific technique and refine accuracy in representation as these are areas where I am poor. Also to dive into the Flemish technique as I’m obsessed by light and form but am yet to represent them in a way I find satisfying. The class was a remarkable opportunity to do that.

I see an immense difference and again, must say I’m thrilled with the result. I think I’ve come a long way in a short time. At home, I paint something I am more often than not unhappy, sometimes to the point of wanting to go all ninja on it, beat it with nun chucks and chuck ninja stars… You’ll be pleased to know that these works remain safe from Japanese implements of combat. J

…I’m also practicing Flemish technique on some small canvasses at home (I’m intent on capturing that light, dammit!) and am happy to share those once done and if I’m happy with them.

Ivana Dash, Still Life Imprimatura
Ivana Dash, Still Life Glaze (work in progress)

 

 

 

 

 

 

 

 

My focus was on learning; the technical in these two specific areas (refine my eye and hand; to learn specific technique and refine accuracy in representation) and that goal was achieved. I am thrilled with the results.

I think it’s also important to point out that these are my first still life and portrait paintings. Ever.

Now, with my drawing skills they are significantly less progressed and in respect to the drawing class, I think I was probably on a par with the others. I spoke with Hilmi about this before signing up as it was a Masterclass, and he encouraged me to do so as refining skills in this area would only be of benefit to my painting… even if I was slow and didn’t totally rock the class.

He was right.

First time working with charcoal, first time life drawing – I Loved It!

I don’t think my drawings will be hanging anytime soon, however even I could see the progress as the days progressed. See what you think:

Day 1: Still Life Gestural  
Ivana Dash

 

 

 

 

 

 

 

Day 1: Still Life, Charcoal. Structural. Dark Base w/ shellac and Day 4 painted highlights
Ivana Dash

 

 

 

 

 

 

 

Day 2: Still Life, Charcoal. Structural. Light Base.
Ivana Dash

 

 

 

 

 

 

 

Day 3: Life Drawing #1. Pencil + Black Charcoal:
Ivana Dash

 

 

 

 

 

Day 4: Life Drawing #2. Pencil + Black & White Charcoal:
Ivana Dash

 

 

 

 

 

Once again, I was thrilled by the results and have become slightly obsessed with life drawing. I need to do more. Soon!

I also learned to mix black. I think this may have changed my world.

I really enjoyed Himi’s teaching style. He’s quiet and confident, firm and precise but also gentle. I think one of the most important things in a learning environment is to have the freedom, comfort and latitude to feel free to make mistakes; countered with a confidence in your lecturer that they can pull you up on these without making you feel like an arse and have the skill to pull your work back from the brink so you can move forward. That’s a tricky balance.

Hilmi did this with me many times and I am hugely grateful and inspired to continue.”

We are very appreciative of any feedback we receive and also encourage students to share their work with us so we can share it with everyone at MAC!

We have two painting courses beginning this Saturday, running for seven weeks – Painting from Still Life with Hilmi Baskurt and Painting from the Life Model with Marco Corsini. These classes are open to all skill levels and our teachers will focus on drawing fundamentals in the beginning for those of you who are new to painting. We also have students in the class who have been returning for many terms. If you are interested in joining these classes, you can find out more information and enrol here: http://artclassmelbourne.com/painting-courses/

What happens every week in Marco’s Studio Art Class

~ Lauren Ottaway ~ Leave a comment

Marco Corsini’s Studio Art is a term-based course and has tended to be an eclectic fusion of talks and presentations by Marco (about four or five per term), guest speakers (one per term) and studio time.

We have a range of students attending this course; from dedicated, practising artists who have been with us for over three years, high school students supplementing their in-hours art classes, to creative people who just need an outlet.

The skill level is extremely varied as well – students tend to either be beginners who are guided through the fundamentals, or more experienced and ongoing artists who work on their own projects with Marco’s guidance. That’s the beauty of our Studio Art program – you can be the creative individual that you are, in an encouraging, non-judgemental environment, and also receive critical and professional artistic guidance if that is what you seek.

Lauren Ottaway, Red Kitchen, acrylic on canvas, 2015. Completed in Studio Art Class

We have had individuals on a Tuesday, arrive inspired with a new set of stamps and a stamp pad and stamp on huge pieces of paper all night, whilst others work painstakingly at an oil painting they have been focusing on for weeks. And we always have one or two beginners working on exercises set by Marco with his still life arrangement. The mix of people and their combined creativity is truly inspiring.

This class nurtures creativity and expression, and many students also find it an oasis from the “daily grind”. I was part of the class for three years and it was like a breath of fresh air where I was able to access that creative flow where time does not exist. Having this in my busy, corporate week was invaluable.

Marco’s Studio Art class is where I began to take my art practice seriously. Many of the materials are provided for beginners so the program allows a cost effective entry into art practice.

The class is limited to ten students to allow one-on-one tuition. Enrolments are now open for next term: https://artclassmelbourne.com/studio-art/.

Why is Still Life so important?

~ Lauren Ottaway ~ Leave a comment

Still Life – a collection of inanimate objects – does not inspire everyone, and after drawing the same curved vase ten times, beginners often want to move on to “more exciting things” like the human figure, portraiture, landscapes, abstract work etc. However, Still Life is an important genre for every artist; through it you explore line, composition, value or tone, space and nearly every type of texture, just to begin with. It can be the foundation of your art practice, or a complete and fascinating subject in itself, plus many of technical problems in painting can be resolved with Still Life practice.

If you study the Masters – both modern and classic, many works are Still Life paintings. In other works, Still Life plays what you think may be a minor roll, but as you begin to study them, you begin to realise how important it is to the painting as a whole. Artists such as Giorgio Morandi dedicated himself to working with Still Life throughout his own life with the enigmatic results still delighting viewers today. Picasso famously commented on the anxiety in Cezanne’s apples being what held his interest in the work.

“It’s not what the artist does that counts, but what he is. Cezanne would never have interested me a bit if he had lived and thought like Jacques-Emile Blanche, even if the apple he painted had been ten times as beautiful. What forces our attention is Cezanne’s anxiety – that’s Cezanne’s lesson.”

Clearly, Still Life can be a extremely powerful genre in the right hands.

Why should you draw and paint Still Life?

Paul Cézanne, "Fruit Bowl, Glass, and Apples" (1879-1882)
Paul Cézanne, “Fruit Bowl, Glass, and Apples” (1879-1882)

 

Line

Did you begin drawing cylinders and cylinders and more cylinders until they began to resemble cups and vases and wine bottles? Think about all the lines in a Still Life – the fragile petals of a flower; the curve of a lamp in front of a hard-edged wooden box. The smooth skin of a dotted pumpkin, with deep grooves all meeting at one point; the tiny crosshatches on a folded piece of hessian on which a delicate teacup sits. This is where you learn how to draw a wealth of lines and render different surfaces and textures. It takes discipline but these skills can then be transferred to Life Drawing and portraiture, or whatever you would like to explore.

Lights and darks

A Still Life composition is where you can truly learn how to render lights and darks; value, also called tone. It is challenging but a place where every beginner should start and every seasoned artist should return. You can explore tonal range in Still Life – from the crisp white folds in a cloth to the deep, dark shadows cast upon it by a vase – and all the values in between. This is where you really learn how to “see”. A tip from our teachers is to squint at the subject in front of you – this can help you see the difference between the lights and darks more clearly. When painting Still Life, you quickly learn about colour mixing and how to mix a black (which you find out in our painting classes), and how to handle paint.

Francisco de Zurbarán, Bodegón or Still Life with Pottery Jars (1636)
Francisco de Zurbarán, Bodegón or Still Life with Pottery Jars (1636)

Composition

In art classes the Still Life is often arranged for you, although you may have the opportunity to choose which part of the composition you want to draw. Drawing and painting Still Life will help you identify how a composition can be modified for a particular effect. You can experiment with different compositions, create focal points and guide the viewer’s eye through compositions.

Still Life classes at Melbourne Art Class

This term we are offering Painting from Still Life with Hilmi Baskurt. In the class, students are encouraged to develop conceptual understanding and technical proficiency in painting. This seven-week course will be held on Saturday afternoons from January 30th. You can find out more information and enrol here: http://artclassmelbourne.com/painting-from-still-life/.

In Marco’s Tuesday night term-based Studio Art Class, you have the opportunity to work from a different Still Life composition every week. You are free to use any medium you wish, or work on your own projects in the class. You can enrol or find out more here: http://artclassmelbourne.com/enderby-studio-art-program/.

2015 reflection – Growing into the creative mystery

~ Melbourne Art Class Hub ~ Leave a comment

A message from MAC Director and teacher, Marco Corsini

Melbourne Art Class has had a massive year.

Marco Corsini, 2015
Marco Corsini, 2015

We have more students working at a higher artistic level than ever, with some magnificent achievements during the year. I’d like to thank all of our students who have trusted us to guide them and everyone that has followed us, liked us, enquired, enrolled or even curiously looked sideways at us as they pass the studio window.

Thank you to Lauren, Fenja, Althea, Carolyn, Jesse, Hilmi and Adrian for being the MAC team for 2015. I think we did marvellously and the feedback we receive confirms this.

Thanks especially to Lauren who has become the backbone of MAC, always giving a bit extra, always innovating and thinking ahead, also increasingly taking responsibilities from me and allowing me to focus on being a good artist and teacher. A little secret; Lauren has been working from Nagoya in Japan for much of this year, making the level of service she delivers even more remarkable.

Thanks to Hilmi who has taken MAC by storm with his Four Elements of Sketching courses and the technically thorough, Painting from Still Life course. Hilmi has a solid foundation in painting and we will ramp up access to those skills in 2016.

Carolyn has continued with her popular Floral Design courses for another year and most recently has brought us her Art Therapy and Mindfulness Practice, with which she had been working in schools in the region. In doing so, she takes MAC back to its early origins, with my focus on developing a creative sanctuary.

Jesse has continued in his quiet yet powerful way as our main Life Drawing teacher; with almost three years in this role, he has raised the bar and introduced an Advanced Life Drawing course. With so many students having passed through Jesse’s courses in these last years, we would like to offer the opportunity to access Jesse’s incredible skills at an advanced level.

We have welcomed Adrian Stojkovich this year as our newest drawing teacher. Adrian will continue to teach with us from time to time. Adrian is extremely talented and extremely well grounded in his training. It is very exciting to have him at our studio.

We are running more courses, with more diversity and more students than we ever have. If I take traffic at the MAC website as our indicator alone, then we have doubled our engagement with people in the last year. Each of our teachers continues to deepen in their area of specialisation as we get better and better at what we do. Each of our teachers continues to forge their way in their own practice with outstanding results.

As busy as this time of year is, Christmas remains very special to me and the vulnerability of the Christmas child in the manger reminds me of our own vulnerability, of creativity and of love. I saw that same vulnerability in a child I watched come into the world recently. I wasn’t there for the birth, but I have been fortunate enough to be at the births of all of my children, so I felt connected to the journey taking place. The child was a heartbeat and little feet pushed against the womb and out into the world, and then soon, she was in our arms. Last night she was tired and crying and I held her and soothed her as I had for my own children, until she fell asleep. She lay in my arms completely helpless, yet completely secure. Perfectly made, perfectly innocent, perfectly helpless. It will be a while before she knows what many of us know about living, before she knows indignity or violence. If we can believe in perfect love, then perfect love must be in such a child, a love which trusts and would never, could never hurt another.

I think most of us retain some part which is as vulnerable, and yet able to trust and love, as the new child. As a teacher I want to release creativity with art processes and the rich history of art providing a good vehicle for this. We can be receptive to creativity in a similar way to composer Phillip Glass’ description of being able to listen for the hidden underground river which eventually becomes a composition. I would like to think that we can create an environment where people can feel safe and an inner child can feel the joy of trust, an element of vulnerability of listening and then giving to the world through their creativity. I believe that when this occurs, we get closer to our own origins and to the heart of the creative mystery.

Happy and safe holidays everyone!

 

Students’ life model work from Painting Term 3

~ Lauren Ottaway ~ Leave a comment

We had a full class for Term 3 Painting and our students produced some incredible work which we are very proud of and would love to share.

Four sessions over the ten weeks were dedicated to painting from one life model, in an ongoing pose. Painting the figure is difficult but a wonderful way to develop as a painter. Marco is able to guide students through the drawing foundations of the painting through to the final techniques. The focus in these session was on establishing fundamental processes for painting in a short time. Marco helped students create fleshy tones, finding the lights and darks, and using colours you wouldn’t normally associate with flesh.  He was also aware of the different painting techniques of his students, and made sure his tuition only enhanced their personal style. You can see the different works produced below:

Long-time student Felice has a background in folk art which meant that she has a good mastery of certain brush techniques which have gradually expanded with her recent participation in the course.

Felice, Term 3 Painting, 2015
Felice, Term 3 Painting, 2015

 

 

 

 

 

 

 

 

 

Megan has been with Melbourne Art Class for a couple of years now and is a prolific oil painter. Megan returned to painting after many years away and has become an extremely effective painter.

Megan, Work in progress, Term 3, 2015
Megan, Work in progress, Term 3, 2015

 

 

 

 

 

 

 

 

 

Monika is a Graphic Designer by day but maintains a love for painting and continues to develop her painting technical skills. She has a natural disposition to describing the figure through painting.

Monica, Term 3, 2015
Monika, Term 3, 2015

 

 

 

 

 

 

 

 

 

 

 

 

Learn how to paint the Figure with Marco Corsini

This term we have introduced a short painting course – Painting from a Life Model with Marco Corsini. During this seven-week course, students will be encouraged to develop drawing skills, conceptual understanding and technical proficiency in painting.

When: Saturdays, 7th November to December 19th, 9am – 11.30am

Where: Enderby Studio, 314 Church Street, Richmond.

Cost: $375

Read more about this course and enroll here.

“Marco teaches traditional/proper painting techniques and methods from the basics, taking time to explain all facets of painting. I find the content inspiring and extremely beneficial to my art practice. I trust in Marco’s experience and knowledge and appreciate his very personable style of teaching.”

Monika, Term 2, 2015 student

Celebrating spring with our Floristry Teacher, Carolyn Howells

~ Lauren Ottaway ~ Leave a comment

After what seemed like (literally) an ice age, spring is finally here, bringing with it a new creative enthusiasm that infects many people. This can be a time of growth, re-birth and creation. Nothing beats sighting the first buds, then within the blink of an eye pink blossom trees are lining our suburb streets and daffodils are brightening up our parks.

This month Carolyn Howells, our Floristy and Art Therapy teacher, shares why spring is significant to her. Thank you Carolyn!

Carolyn Howells, 2015
Carolyn Howells, 2015

Is spring an inspirational time of year for you?

I love spring, where the days are getting longer and the weather is warmer (mostly) and all the bulbs begin to flower.  I find creative ideas grow and expand and I am inspired to get into the garden and the studio to paint, create flower designs, write workshops and put those ideas that have hibernated in the winter into action.

IFD 18

What are your favourite flowers during this season?

My favourite flowers during spring are, daffodils, I especially love the double daffodils, they are stunning with their pale yellow outside petals and bright yellow inner petals, jonquils, iris especially the flag iris, the vibrant coloured tulips, hyacinths, grape hyacinths, ranunculus, stock, and freesias – especially the ones growing wild.  In spring the fragrance of the flowers is exceptional.  I also love to watch the trees get buds in late winter in preparation for blooming and then watch the beautiful fragile flower blossom in spring.  The rhododendron is amazing too; the colours range from deep burgundy, to hot pink and pale pink.

Which flowers typically make up a spring flower arrangement?

Carolyn Howells
Carolyn Howells

Spring is one of the best seasons for mixed posies of hyacinths, tulips, iris, erlicheer, roses, stock, freesias and rhododendron for both the foliage and the flower.

The visual impact with all the textures is amazing and they smell delicious.

Art therapy – what does spring mean for you?

IFD 13
Carolyn’s Floral Design class

Art Therapy in spring can vary from year to year depending on what is happening in my life.  This year I find I have more energy to put things into action, especially around wellbeing.  I love to walk on the beach, practice my mindfulness, get out in my garden and pick straight from the veggie patch to make healthy salads for my family.  I have kept an art journal over winter with design plans for my garden and now I can finally get out there and start redesigning.  I am so inspired by the flowers in spring and love coming up with new ideas and designs to do both in flower design and my art.  I am in the process of updating an art therapy based goal and action board, with all my ideas coming to life as change and growth happen this spring.

Thank you very much Carolyn for sharing this with us! Find out more about Carolyn, her Floristy Courses and Art Therapy.

A New Image for Melbourne Art Class

~ Melbourne Art Class Hub ~ Leave a comment

In case you hadn’t noticed, Melbourne Art Class has an exciting new look on the way!

The first step on our re-design journey has been our fantastic new logo, which is designed by one of our students: Zoe Coombe!

Melbourne Art Class is really proud of the strong sense of community we have with our students and we wanted to incorporate this into our overall image. Zoe has cleverly crafted a logo that is a representation of not only three simple shapes; the triangle square and circle; but also the perspective between shapes and the connection with the outer shape. This is representative of our community and an interaction between students and teachers.

Over the next few months you’ll be seeing quite a few changes on our website and social media. To introduce you all to the creative mind behind the design, we asked Zoe a few questions about what inspires her and why doing classes with Melbourne Art Class helps her creativity.

Zoe Coombe, Graphic Designer
Zoe Coombe, Graphic Designer

Thanks for all your efforts on our new logo Zoe. We’re really happy with how it incorporates  our community and so many shapes in just one heptagon!

Can you tell us what motivated you to become a graphic designer?

I just followed what made me happy. Art was my ‘fun’ class at school. During my final year, I went to the Uni open days and was always drawn to the art departments. After that, it was a natural progression that led me to design. 

What do you derive inspiration from when designing?

Fine art, other designers, books. Anything I come into contact with.

Is there a particular aesthetic that you lean towards and why?

Not really, my solutions are driven by the project and what communication best resolves the brief and reaches the correct audience.

What do enjoy most about designing?

The variation in projects. Designing gives me a chance to work on a broad range of projects and keep things interesting. 

Why did you begin classes at Melbourne Art Class?

Sometimes it is nice not to work to a brief or a tight deadline. Just to create for pleasure. It gives me a chance to let the creative juices flow and to generally make time for art. 

How do the classes influence or complement your design work?

It gives me a chance to brush up on techniques and learn from other artists. 

 

 

We’re really excited that Zoe has joined us for our re-design journey and look forward to seeing our vision come to fruition.

– Other Worlds – Philip Wolfhagen’s Latest Exhibition

~ Melbourne Art Class Hub ~ Leave a comment

by Elizabeth Fritz

Other Worlds, is a collection of landscape paintings that embody the subtleties of the natural world; the changing light and weather, the evolving colours and the textural intricacies of the environment. But it’s the depth within the landscapes, the movement, and the emotional response that standout.

The landscape that surrounds Tasmanian artist Philip Wolfhagen, has been penetrating his being for a long time. They are triggers for new works, sources of colour and light, and they are a connection to the past and the present. Landscapes, and elements within the landscapes fuel his imagination and solidify a starting point. From here, with the inclusion of classical music, beeswax, and a primary colour palette his evocative and perceptual paintings begin to develop.

Philip Wolfhagen The Serpentine Path 2015 Oil and beeswax on linen 96.0 x 338.0 cm (overall) Image courtesy the artist and Karen Woodbury Gallery, Melbourne
Philip Wolfhagen
The Serpentine Path 2015
Oil and beeswax on linen
96.0 x 338.0 cm (overall)
Image courtesy the artist and Karen Woodbury Gallery, Melbourne

The Serpentine Path 2015, a group of three paintings on linen with oil and beeswax, depicts impressions of the undulations in the land. Rocks, shrubs and paths and a never-ending horizon complete the picture. The subdued colours of browns, greys and greens are blended to create contrast, depth and texture all at once. For Wolfhagen, a landscape isn’t about precision and accuracy but rather a representation of the natural world, in which he harnesses the atmosphere, the mood and the light. His paintings are emotive and represent a snapshot of a fleeting moment in nature.

Philip Wolfhagen Other World No. 1 2015 oil and beeswax on linen 200.0 x 214.0 cm Image courtesy the artist and Karen Woodbury Gallery, Melbourne
Philip Wolfhagen
Other World No. 1 2015
oil and beeswax on linen
200.0 x 214.0 cm
Image courtesy the artist and Karen Woodbury Gallery, Melbourne

The large scale Other World No.1 2015 draws the viewer into the landscape. The shear size is like a window you could move through. Strong shades of browns and oranges in the foreground are gradually teamed with greys and blues that fade into the distance. The painting commands stillness as the eye moves into the distance. It is as though Wolfhagen’s landscapes urge the viewer to stop and take notice.

Discussion between author and Philip Wolfhagen
Elizabeth
I have read that music plays a very important part in your painting process. One of the standout features in your paintings is movement, is it your engagement with the music that enlivens your paintings?
Phillip
I would say that listening to music keeps me aloof from the act of painting. It is a means to maintaining a separation; it promotes more rational thought processes, and is a caution against too much self awareness. It is possible that the influence of the music translates into movement, if not in the image itself, then certainly in the accumulation of gestures that comprise the image.
Elizabeth 
Another standout feature is the depth you create in your landscapes. Does the depth represent the deep feelings you have with the natural world and the deep respect for the historical and cultural past?
Phillip 
The illusion of receding space is a vital element in my work because each successive painting is representative of a journey; a never ending reinvention of self. The passage from ones own position to the always shifting vanishing point is inexhaustible in its potential for meaning. 

Philip Wolfhagen
Other Worlds
1 July-1 August 2015

Karen Woodbury Gallery
Level 1/167 Flinders Lane
Melbourne